Left Unsaid Research Articles

Seeing Marcellus inAeneid6

ABSTRACTThis paper will examine the claims of theexcudent alii(‘others will hammer out’) priamel ofAeneid6.847–53 within the immediate context of the parade's end, where Marcellus, parading thespolia opima,is used to exemplify the claims made about fine and speculative arts belonging to the Greeks, and war and the arts of empire to the Romans. It will be shown that certain, highly specific memories of the elder Marcellus are cued by the priamel that run directly counter to Anchises’ claims. The paper will look at how these claims are spoken in character, and driven by specific narrative motives, and it will relate the mismatch of exemplified to exemplifier to certain larger patterns within theAeneidof things being left unsaid only to stand out all the more by being left unsaid. The paper concludes with a speculative essay on the necessary reductions and revisions that go into the making, and reading, of culturally instrumentalized monuments.

Inanimation: Theories of Inorganic Life by David Wills

Reviewed by: Inanimation: Theories of Inorganic Life by David Wills Irving Goh David Wills. Inanimation: Theories of Inorganic Life. Minneapolis: University of Minnesota Press, 2016. David Wills’s Inanimation is the third installment of what now appears to be a trilogy of clearly Derrida-inspired works. It follows Prosthesis and Dorsality, which demonstrate respectively how what manifests as supplementary to be an underlying presence all the while and how what seems mechanically technological to be a natural process already underway. Inanimation, on its part, continues or animates that mode of Derridean deconstruction in relation to the topic of life. As stated in the Preface, it is committed to “thinking life outside of [the animate/inanimate or organic/inorganic] dualism” (xi), if not seeking out “inorganic instances” (x) in the living. The rest of Inanimation endeavors to do this through a coverage of rather myriad materials by a broad range of writers or thinkers: Descartes’s sic ego (or “so, I”); Freud; Derrida’s blush before his cat; punctuations or blank spaces in Mallarmé, Cixous, and Celan; Benjamin’s angel of history; war in Schmitt, Jünger, and Joyce; violent love in Bataille; the heart of stone in Nancy; the discourse of lovers waiting for each other’s call in Barthes; soundtracks and the filmic image in Godard; and natural and battery-operated birdsongs. So, I blush a little whenever I read a work that is overtly Derridean, a work that is unfailingly faithful to Derrida’s deconstructive strategy and/or rhetorical idiom. To be sure, that is not a criticism of all such works; there are indeed some excellent ones that illuminate aspects of Derrida’s writings that have so far been left unsaid by scholars, or else push Derrida’s thinking to domains that remain unexplored by Derrida himself. Inanimation promises to be one such. Now, what Inanimation does more apparently is to prove that, in the wake of Derrida, the deconstructive spirit is alive and well, as it finds itself reiterated, or else its resonance, in Derrida’s faithful followers. These followers, truth be told, constitute no small machinery in itself: a publishing machinery that involves autobiographical gestures—such as the occasional insertion of anecdotes recounting one’s personal relation with Derrida, or else the desire to write one’s trilogy, as is Wills’s case, and the generation of translation of Derrida’s works into a variety of languages. Resonance, translation, and autobiography are in fact the three principal rubrics under which Wills meditates on the question of life, calling them “unheard of (but neither unknown nor inaudible) forms of life” (xi). In my view, however, these motifs, and the way Wills treats them, risk subjecting deconstruction once again to the criticism, launched decades ago, of it being all but a tiresome theater of a reductive “linguistic turn.” To avoid that charge, I wonder, therefore, if it could have been more critically productive or effective in elucidating and explicating further the life-death of some of Wills’s objects of inquiry, namely, the filmic soundtrack, the battery and the toy bird whose calls are driven by that battery, and the telephone in “being just a telephone” (22). Regrettably, Wills seems to have turned his back on them, preoccupied rather with the demonstration of interpretative ingenuity with regard to filmic images, to the response-reaction question subtending birdsongs, and to the existential anxiety of love as lovers wait for each other’s call. In my view, that significantly takes away attention from “inorganic life,” to which Wills’s “theory” is supposed to be devoted, according to his subtitle. On this note of “inorganic life,” one also wonders why Wills avoids any discussion of Object-Oriented Ontology, Luhmann’s systems theory or the “scientific turn” in contemporary theory. As it stands, the book reads rather like the (unconscious) concern for the animation of the author’s (organic) interpretative capabilities. But to stay with the book’s immediate interests: what was potentially interesting to me was the reference to John Donne, as Wills points out the fact that that poet had already in the seventeenth century articulated the potentiality for life in the term “inanimation” (ix). It is somewhat unfortunate...

Introduction: Thinking Caryl Phillips Out of the Box

In 1979, I started to write because I had something to say. I had no desire to be either famous or to become a celebrity. I still have no desire to embrace either fame or celebrity. These are terrible accidents that can destroy the privacy of a writer's life and impair his ability to see clearly. Caryl Phillips, Preamble 7-8 This extract from Caryl Phillips' notebooks, which he read at a conference held in his honour in 2006, summarizes some of the major ideas contained in his contribution to this special issue of ARIEL devoted to his wide-ranging body of writing, which includes ten novels, five non-fiction books, and several plays and scripts. Although Phillips' essay in this issue is entitled Nothing Personal--a reference to a collaborative book published in the 1960s by writer James Baldwin and his photographer friend Richard Avedon--his piece is eminently personal. It provides indirect yet intimate insight into his status as a writer who seems, in this essay, to be more preoccupied by his artistic integrity than the complex background that has long been his hallmark in the field of postcolonial studies and which comprises his birth in Saint Kitts in the Eastern Caribbean, his early years in the north of England, his residence in the United States, and his interest in his African roots. Phillips' reflections on Baldwin's failure to manage his own celebrity in America following the civil rights movement give us access to the former's questions about the changes that have recently marked the publishing world, in which literary fiction is taken less seriously than it was when his first novel, The Final Passage, came out in 1985. Phillips analyses Baldwin's professional choices while never relinquishing-respect for the writer who was also a literary father figure to him, and he concludes with a refusal to take part in the circus (15) that the literary world has become, join the self-promoting lap dance that it entails (15), or, to borrow Baldwin's words, play the dancing dog (25). Although some readers might wonder about the relevance of this piece to ARIEL's postcolonial agenda, one should insist that it is written by an author who, by virtue of his origins, experiences, and work, definitely has his place in the postcolonial domain and has most often been read as diasporic or migrant. It is also important to keep in mind that, in Phillips' writing, the biographical can often be read performatively as autobiographical (Yelin, Plural Selves 58) and what is left unsaid can, in many cases, prove more important than what is openly expressed. His texts, both fictional and non-fictional, therefore deserve to be read for their submerged meaning, a point obliquely raised by Louise Yelin's and Daria Tunca's contributions, which discuss invisible presences in Phillips' writing (Yelin 103) and his poetics of (in)visibility (Tunca 159), respectively. While Nothing Personal visibly tackles the vagaries of Baldwin's career as an artist and the changing face of a publishing world in crisis, it also crucially suggests--as do most of Phillips' texts--that we should learn the lessons of the past. Moreover, it intimates that fame and celebrity tend to make writers forget their origins. Of course, this turns out to be more problematic for artists who, like Baldwin and Phillips, write in a society in which they are viewed by some as outsiders, in terms of both race and class, and are therefore more likely to be discriminated against, even when they have made it to the centre. Incidentally, this theme is also at the heart of Phillips' fascination with the character of Othello, as shown in two of his essays (A Black European Success and 'Rude Am I in My Speech') and, most notably, his 1997 novel The Nature of Blood. Like Nothing Personal, the next two contributions to this special issue--tributes to Phillips by fellow writers Robert Antoni and Johny Pitts--highlight the centrality of literary friendships and intergenerational relationships in Phillips' development as an artist. …

Leads for potentializing groups in Primary Health Care.

to analyze the aspects that potentialize groups in Primary Health Care according to their coordinators and participants. This is a descriptive study with a qualitative approach, conducted with a health promotion group affiliated with a Family Health Unit. The data were collected by means of focus groups with participants and community workers who were submitted to thematic content analysis. the analysis gave rise to three thematic categories: The group is our medicine; Healthy living and learning; and Priceless leadership. the leads identified during the study were as follows: group organization involves investment in motivation and leadership by the coordinators; production of grouping and cohesion is a result of participants and coordinators meeting together, interspersed with dialog, things said and left unsaid that the subjects expressed in the group dynamic; the sense of belonging guarantees their placement in the group based on the recognition of their knowledge and affective, social and health needs.

Sobre as possibilidades de negação na imagem e alguns desdobramentos teórico-analíticos

En este artículo se examina, de manera crítica, la afirmación de que la negación sería imposible de representar en la imagen (Henry 1992, Herrenschmidt 2007) y se analizan dos escenas de la película Praia do Futuro (Aïnouz 2014) para destacar las marcas significantes que producen efectos de negación en la imagen cinematográfica. Estos análisis se sustentan en el presupuesto discursivo de que el sentido no está preestablecido, sino que es producto de las relaciones entre lo simbólico y lo político (Pêcheux 2002 [1983]). Paralelamente, el concepto de representación y los modos de articulación del lenguaje (sintagma y paradigma, metáfora y metonimia, síntoma y deseo) son considerados desde el punto de vista discursivo, a fin de comprender cómo se cruzan los modos de decir y lo que se dice efectivamente o lo que se deja de decir (formulación, textualidad, simbolización) en la constitución de los sentidos de negación en los diversos conjuntos simbólicos.

Visualizing trauma – Marc Recha’s Dies D’agost

Abstract Catalan director Marc Recha’s Days of August (Dies d’agost, Recha, 2006) is true to his usual aesthetic and themes. Minimal plots walk a problematic line between narrative and documentary; fiction and reality; past and present. In the rechian universe, cinema’s classical concepts and expectations are challenged and obliterated in an unresolvable chaos of sophisticated styles, media and references. Plots change, but what holds is the succession of dissociated and tenuous scenarios in haunted spaces where messages fail to be transmitted yet human enquiries persist. In Agost, the rechian style turns into a precise idiom to embody what has been forgotten and to communicate what has been left unsaid. Specific challenges stem from Recha’s desire to film our inability to grasp our past. Briefly, tentatively, spectators might understand that unless we tend to our wounds, no one will understand our personal and collective traumas.

Representations of Indigenous Peoples and Use of Pain Medication in Canadian News Media

Using media coverage of the withdrawal of OxyContin in Canada in 2011 and 2012 as an example, this article describes a systematic analysis of how news media depict First Nations peoples in Canada. Stark differences can be seen in how First Nations and non-First Nations individuals and communities are represented. In First Nations communities, problematic substance use is discussed without considering the context of pain management, broad generalizations are made, and language of hopelessness and victimization is employed. An analysis of the differences in language, tone, sources of information, and what is left unsaid, makes visible the ways in which misinformation about First Nations peoples and communities is constructed and perpetuated in media discourses.

“This tale is of my making”: empowering voices in Andrea Levy’s The Long Song

Andrea Levy’s The Long Song takes readers to pre- and post-Emancipation Jamaica through the voice of July, an old black woman who in the final years of the 19th century reminisces about her past. July is an intrusive narrator who throughout the narrative flaunts her control over her tale and sometimes calls attention to what is left unsaid, so that the horrors of slavery are mainly conveyed in her silences, while her humorous perspective articulates a story that focuses on the survival and agency of black subjects. This article analyses The Long Song in relation to other slavery fictions published in Britain in recent years and against the background of the 2007 bicentennial of the Abolition of the Slave Trade in the British Empire. For all the lightness of its tone and the role of humour in the novel, the imaginative archaeology of The Long Song has a serious agenda: it recreates the historical past of the black British characters who populated Levy’s earlier fiction as it explores the interweaving of European and African lives that the slave trade produced.

Not Real Good at Modern Life: Appalachian Pentecostals in the Works of Lee Smith

In his 1996 essay Writing on the Cusp: Double Alterity and Minority Discourse in Richard Cunningham urges Appalachian writers start writing about, and therefore defining, themselves: we Appalachian writers are en(cou)raged fill in the blanks ourselves ... displace the categories of domination in both directions and thereby push open vacuum but creative space (46). The directions Cunningham refers are the North and the South; while the North uses the stereotypes of Appalachia characterize all of the Southern United States, the South displaces those caricatures solely on the Appalachian themselves, making them akin Other's Other (42). Elsewhere, Cunningham, like many Appalachian scholars, has noted that Appalachian are frequently portrayed never really moving beyond some 'classic' period (Appalachianism 127). Appalachian are Others who are not regarded as adults but as children ... as legitimate offshoots but as arrested earlier forms--not as rejected brothers but contemporary ancestors (129). Appalachian literature written by Appalachians, according Cunningham, would resist the definitions and stereotypes imposed on Appalachia by both the North and the South. Cunningham clear that what he calling for has already begun at the time Writing on the Cusp was published in 1996. As an example, he points Lee Smith's Oral History (1983). It no surprise that Cunningham chooses novel by Smith, who was born and raised in Grundy, Virginia. She perhaps the best-known Appalachian writer outside of Appalachia, and one of the most championed authors inside Appalachia. Oral History particularly important novel for Smith's career, and for the way readers imagine Appalachia. The novel was Book-of-the-Month featured selection, giving her national exposure she had previously enjoyed. But it more than simply the popularity of the novel, and its author, which led Cunningham select it as his primary example of Appalachian writers filling the blank. Citing an unnamed native Appalachian reviewer, Cunningham argues that Oral History a pastiche of every kind of stereotypical writing about Appalachia in the past hundred years (47). Drawing attention the unreliability of the narrators, and by extension, the stereotypical writing from which the narrative voices are drawn, points what left unsaid. According Cunningham, readers begin hear the whispers of the authentic voice underneath, voice present by erasure--a blankness made articulate (48). A crucial part of this narrative strategy the character of Richard Burlage. Unlike most of the characters in Oral History, Richard does grow up in Appalachia. He an upper-class man from the city of Richmond, come Black Rock as school teacher in the early twentieth century. Cunningham equates Richard's journals those of anthropologists and journalists who condescendingly write about Appalachia as local colour. Cunningham argues that by making Richard's voice just as unreliable as the residents of Hoot Holler, if more so, Smith resists dominant narratives about Appalachia. Most critics of the novel agree with Cunningham's assessment. For example, Suzanne Jones suggests that Smith uses Richard and Jennifer, another outsider character, to examine the causes and consequences of typical twentieth-century perceptions of Appalachia ... revealing the naivete and the condescension that often characterize the outsider's perception of mountain people (102). Likewise, Paula Gallant Eckard argues that while Richard is product of powerful Western influences and Latinate education, he kind of Other, true outsider in the mountain community (Prismatic Past 126). This the dominant interpretation of Richard's role in the novel: as stand-in for outsiders who perpetuate the condescending narrative of Appalachian as part of contemporary past. …

Left Unsaid: The Role of Work Expectations and Psychological Contracts in Faculty Careers and Departure

Early career faculty bring many expectations to the door-steps of their new academic homes. Yet such expectations are often left unsaid. Unfortunately, what is left unsaid can be a major factor in faculty departure. This study makes a distinct contribution to the departure literature by examining the psychological contracts and work expectations of 33 faculty who left or were about to leave their university. Unfulfilled expectations and broken contracts about professional relationships, the nature of faculty work and the reward system, and resources shaped faculty departure decisions. We draw implications for the recruitment and retention of early career faculty.

Nora Gilbert (2013) Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship

Nora Gilbert (2013) <i>Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship</i>

Listy Feliksa Wrotnowskiego do Eustachego Januszkiewicza z lat 1859–1968

In his published letters, Wrotnowski raises the subject of emigrants’ everyday life. Due to rush, inability to meet or missing people in the space of a large city, Paris, letters replace daily conversations. Contemporary political events and social movements are left unsaid by Wrotnowski. Moreover, there are no comments about the events or phenomena happening outside the community of emigrants. Publishing issues, anguish of urgent work and finances dominate the correspondence. The sender describes his experience in editing Żywot Adolfa and preparing another edition of Adam Mickiewicz’s Parisian lectures, as well as his attempts to write a geography course book for Szkola Batignolska and to sell a matrix for printing so-called Chrzanowski’s map. Except for choosing to explore publishing issues, Wrotnowski gives economic details of the refugees’ life, often discusses his health and misery, meticulously makes notes of meetings with his countrymen, quotes their conversations. The language used by Wrotnowski is expressive Polish, frequently ornamented with Latin phrases and several Belorussian proverbs. Wrotnowski’s style makes most of the art of rhetoric, the author does not spare apostrophes addressed to Januszkiewicz, in order to highlight his situation he asks rhetorical questions or provocatively finishes his sentences. On the one hand, these are the letters written on business; on the other hand, they stay in the convention of confessions and personal stories. Twenty-one letters from Feliks Wrotnowski to Eustachy Januszkiewicz written during the years 1859–1868 is part of archives donated from Popiel book collection in Czaple Wielkie near Miechow to Biblioteka Jagiellonska by the agency of Witold Zachorowski in 1948.

“Some Things Are Better Left Unsaid”: The “Dignity of Queer Shame”

Using the work of Walt Whitman and David Wojnarowicz, I argue that queer shame, which some LGBTs deny or repress, not only gives meaning to “queerness” but also motivates creative expressiveness in those queer writers/artists who make use of and dignify it.

Acceptance of the Society of Economic Geologists Ralph W. Marsden Award for 2013

Madame President, SEG members and guests: I thank Larry Meinert for his citation for the SEG Ralph W. Marsden Award, both for what he said and what he left unsaid. It was Sam Adams who, as chair of the Committee on Committees, invited me to work on the SEG Membership Committee under the leadership of Bruce Bouley back in the early 1990s. This was the time when SEG had committed to build membership worldwide after its only period of membership decline, which followed the industry downturn of the late 1980s. The appointment was my first service to SEG, and it got me …

What is left unsaid: an interpretive description of the information needs of parents of children with asthma.

Parents of children with asthma provide the vast majority of day-to-day asthma care. Understanding their information needs is an essential step to provide meaningful and effective family-centered asthma education. To gain insight into the information needs and information deficits of parents of children with asthma, we conducted an interpretive descriptive study to capture the perspectives of 21 parents from diverse backgrounds whose 23 children with asthma had a range of illness trajectories and management scenarios. Parents were purposively sampled from two asthma clinics and one pediatric emergency department in a large urban center in North America. Semi-structured interviews were conducted in 2011-2012. In data analysis, parents' self-identified information needs were distinguished from analysts' interpretations of information deficits. Participants' knowledge did not always reflect time since diagnosis, and information needs and deficits persisted for years. Parents often reported receiving little or no little or no education about asthma and its management. An asthma management information hierarchy was identified, starting with the most foundational, recognizing severity; followed by acute management; prevention versus crisis orientation; and knowing "about" asthma. In the absence of adequate and accurate education, parents' beliefs about the nature of asthma as an acute rather than chronic condition shaped their asthma management decisions and information-seeking behaviors. Information deficits were affected by interactions with health care providers. These parents' pervasive unmet information needs and deficits highlight the need for comprehensive, problem-oriented asthma education.

Logicism as Making Arithmetic Explicit

This paper aims to shed light on the broader significance of Frege’s logicism (and hence the phenomenon of modern logic) against the background of discussing and comparing Wittgenstein’s ‘showing/saying’-distinction with Brandom’s idiom of logic as the enterprise of making the implicit rules of our linguistic practices (something we do) explicit (by something we say). The main thesis of this paper is that the problem of Frege’s logicism lies deeper than in its inconsistency (which has since turned out to be reparable, as the neologicists have shown): it lies in the basic idea that in arithmetic (and prospectively in language in general) one can, and should, express everything that is implicitly presupposed so that nothing is left unsaid. This, in fact, is the target of Wittgenstein’s critique. Rather than the Tractatus, with its claim that logicism attempts to say something that can only be shown (e.g. what ‘object’, ‘function’ or ‘number’ are), it is the Philosophical Investigations, with its argument by regress against the thesis that every rule which one can follow must be of an explicit nature, that is of real significance here.

What's Left Unsaid: How Nonverbal Influence Compares with Verbal Influence

Eyewitnesses’ memory reports can be altered when ambiguous post-event information is presented verbally during interviews. Although recent research has identified that gestures can also act as a source of influence in eyewitness interviews, it is unknown whether nonverbal suggestions can exert an influence to the same extent as those made verbally. To investigate this, 92 adults were interviewed about a crime video and provided with either verbal (speech) or nonverbal (gesture) suggestions during questioning that provided either factual or misleading information about the scene. The results revealed that both differed from controls, and that gestures exerted a similar level of influence as speech. As with speech, gestures led participants to giving both correct and incorrect responses. These results highlight that misinformation can be conveyed covertly through gestures as a form of suggestion in a way that is comparable to overt verbal influence.

The BBC Television Audience Research Reports, 1957–1979: Recorded Opinions and Invisible Expectations

Between the 1950s and the 1980s, the BBC’s internal Audience Research Unit compiled up to 700 Audience Research reports for television a year, attempting to cover the complete spectrum of BBC TV programming. This article considers the form, value and possible future application of this material, reflections inspired by my own use of the collection when researching BBC adaptations of theatrical classics in order to examine the use of space in these dramas in the 1970s; the spaces that programmes were made in, the spaces represented onscreen, and viewers’ spatial understanding of these programmes. In this piece I shall describe the form that the Audience Research Reports took, demonstrate why they are of use to historians, and then explain two methodologies that I have used in my work; forming conclusions through looking at the full extent of reports for one form of drama (versions of classic stage plays recorded on location on Outside Broadcast) spread across a number of years; and decoding audience’s reactions through establishing what was left unsaid in these reports.

The situations of culture: humor and the limits of measurability

This article develops a theory of humor and uses it to assess the attempt to measure meaning-structures in cultural sociology. To understand how humor operates, researchers need to attend to two layers of cultural competencies: general typifications and situation-specific know-how. These cultural competencies are then invoked in ways that define humor as a specific form of experiential frame—the bi-sociation of meaning, its condensation, and resonance with experienced tensions in the social world. I show the usefulness of this theorization through the empirical case of AIDS humor in Malawi, a small country in South-East Africa. Using conversational diaries, everyday interactions, and newspaper cartoons, I argue both that such humor is widespread and that it reveals important facets of life in a country ravaged by the pandemic—what it means for the shadow of AIDS to be ever-present. Through this case, I then turn back to the question of measurement, arguing that although measuring tools may be able to identify large-scale semantic shifts, they necessarily miss forms of interaction such as humor, that are based on allusion, condensation, and what is left unsaid.

Review: Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship

Review: Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship